LIBRARY OF CONGRESS. 

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UNITED STATES OF AMERICA. 



THE 

NEEDLE 
WQRKER5 





Guide 



"ART NEEDLE=WORK," 

In which all the different stitches nsed In makinti' 
are thoronuhly taught and explained by 

DIAGRAMS. LETTERS j^^^ NUMBERS. 

including; also 

A GUIDETO KENSINGTON PAINTING 



A. P. POTTS, 

Author of "The Needle-Worker's Lesson Sheet.' 




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ENTERED ACfORDIiNO TO ACT OF CONGRESS, IN THE YEAR, EIGHTEEN HUNDRED AND NINETY-THREE BY 

A. P. POTTS, 

IN THE OFFICE OF THE LIBRARIAN OF CONGRESS, AT WASHINGTON, D. C. 



W. T. Langton, Printer, 

"KM Sout.li Chicag:o Avenue, 

(■irirA(4(i, Ii,i,. 



I' PREFACE. "' 



The reason for the appearance oi this book, "The Needle-Worker's Guide," may 
be said to be fourfold. First — The absence of any such work that embraces within 
its scope in a plain methodical manner, the iirogressive stages of Art Needle-work, 
instructions commencing at the first princij)les, and carrying the learner forward, 
step by step, to a degree of perfection. Second — One of the most noticeable 
and interesting features of our times is the increasing tendency of the people toward 
the study and practice of the artistic, and the ardent desire expressed by many for a 
reasonable system of self-instructions. Third — To still further stimulate and 
encourage that tendency among the people, the fostering of which must have a 
decided, refining effect. Fourth — For a book (together with the Needle-Worker's 
Lesson Sheet accompanying it,) which would comprise and teach by the aid of 
diagrams, letters and figures, all the princijial stitches used in Art Needle-Work. 
This plan possesses every advantage and is equal to personal instructions. These 
reasons, together with the numerous encouragements the author has received from a 
former publication, has induced him to undertake the task of a second publication. 

The author claims for this book that by the plain and easy manner of teaching 
the learner how each separate stitch is made by lines, dots, letters and figures which 
is an entirely new method of teaching Art Needle-Work. The plain and simple 
manner in which the instructions are given for making decorative articles by this 
new method from the numerous full-size working patterns herein contained, will 
render the task of the learner both easy and simple. 

The work has been explicitly written and carefully executed, and every possible 
means of descriptive and illustrative jjower utilized in order to make the work truly 
what the title page indicates, "The Needle-Worker's Guide." 

The author claims for it, special usefulness, and hopes that it will be highly 
appreciated and trusts it will meet and deserve a wide acceptation at the hands of 
the innumerable ladies for whom it is intended, while it escapes what it does not 
court the liypereriticism of tlie pedant. 

A. P. Potts. 
Chicacki, III., January, 18i)5. 



LI5T OF DIAGRAMS AND PATTERNS. 



Basket Stitch, Diagram and Pattern .... 7 

Blanket or Button-Hole Stitch, Diagram and Pattern - - 32 

Border Stitch, Diagram and Pattern .... 7 

Brick Stitch, Diagram and Pattern .... g 

Chain Stitch, Diagram and Pattern - - - - 12 

Diamond Stitch, Diagram and Pattern ... g 

Dogwood Blossom Pattern - - - - - 22 

Eureka Stitch Diagram - . - - 14 

Eureka Stitch, Leaf Pattern - - - - - 14 

Feather Stitch, Diagram and Pattern ... g2 

Forget-Me-Not Pattern - - - . - 2() 

Forget- Me-Not Petal Stitch Diagram ... 9 

Forget-Me-Not Eose Pattern - - . - - 9 

Golden Eod Pattern - - . . . 26 

Herriug-Bone Stitch, Diagram and Pattern - - - 9 

Janina Stitch Diagram - - - . - 15 

Tanina Stitch, Leaf Pattern - - . - - 15 

Japan Cockscoml) Pattern .... jf, 

Kensington Outline Stitch, Diagram and Pattern - - - 29 

Picket Stitch, Diagram and Pattern - . . 12 

Plush Rose Pattern - - - . - 28 

Rush Pattern - - . - . 20 

Satin Stitch, Diagram and Pattern - - - - 25 

Scotch Thistle Pattern - - - - . ;-iO 

Star Stitcli, Diagram and Pattern - - - - 18 

Stem Stitch, Diagram and Pattern - - - - 10 

Sumach Pattern - - - - - - 18 

Wheat Grain Stitch, Diagram .... 10 

Wheat Head Pattern - - - - - 10 

Wheat Pattern ..... 24 

Wheel Stitch, Dingrnni and Pattern - . . - 11 



...TABLE OF CONTENTS. 



Basket Stitch, Instructions for Making . . . - 7 

Blanket or Button Hole Stitch, Instructions for Making - - 32 

Border Stitch, Instructions for Making . - . . 7 

Brick Stitch, Instructions for Making ... g 

Chain Stitch, Instructions for Making - - - - 12 

Daisy, Instructions for Painting .... 43 

Diamond Stitch, Instructions for Making - - - - 8 

Dogwood Blossom Design, Instructions for Making in Velvet - 23 

Dogwood Blossom Design, Instructions for Making in Arrasene - - 33 

Easter Lily, Instructions for Painting ... 42 

Eureka Stitch, Instructions for Making - - - - 14 

Feather Stitch, Instructions for Making ... 32 

ForgetMe-Not, Petal Stitch, Instructions for Making - - 9 

Forget-Me-Not Design, Instructions for Making - - 27 

French Knot Stitch, Instructions for Making - - - 27 

Fuchsia Design, Instructions for Making - - - 34 

Oolden Eod Design, Instructions for Making - - - 27 

Golden Rod, Instructions for Painting ... 42 

Herring-Boue Stitch, Instructions for Making - - - 9 

Janina Stitch, Instructions for Making ... 15 

Japan Cockscomb Design, Instructions for Making - - - 17 

Kensington Outline Stitch, Instructions for Making - - 29 

Kensington Painting, (juide to • ■ - - - 37 

Moss Rose, Instructions for Painting - . - . 44 

Perforated Patterns, Instructions feu- Making - - - 19 

Picket Siitch, Instructions for Making - - - 12 

Plush Rose Design, Instructions for Making - - - 29 

Plush Stitch, Instructions for Making - - - 17 

Poppy, Instructions for Painting - - - - 44 

Pouiicet, Instructions for Making - - - - .21 

Red Poppy Design, Instructions for Making - - - 35 



.TABLE OF CONTENTS. 



CONTINUED. 



Eush Design, Instnictions for Making - - - - 21 

Satin Stitch, Instructions for Making - - - - 25 

Scotch Tistle Design, Instructions for Making - - - 31 

Stamping Fhiid, Instructions for Making - - - 19 

Stamping Paint, Instructions for Making - - - - 19 

Stamping Powder, Instructions for Making - - - 19 

Stamping With Fluid, Instructions for - - - - 25 

Stamping With Paint, Instructions for ... 28 

Stamping With Powder, Instructions for - - - - 21 

Star Stitcli, Instructions for Making - - - - 13 

Stem Stitch, Instructions for Making - - - - 10 

Sumach Design, Instructions for Making . . - 19 

Wegelia, Instructions for Painting - - - - 43 

Wheat Design, Instructions for Making ... 25 

Wheat Grain Stitch, Instructions for Making - - - 10 

Wheat Head, Instructions for Making ... lo 

Wheat, Instructions for Painting - - - - 42 

Wheel Stitch, Instructions for Making - - - 11 

Wild Eose, Instructions for Painting - - - - 43 






THE NEEDLE- WOKKEK'S GUIDE. 



BORDKIt STITCH DIAURAM ANIl I'ATTERN. 

INSTRUCTIONS FOR HAKINO BORDER STITCH. 

Make a pattern from the engraving and stamp the design upon the material. 

Hold the material so as to work from you. Bring the needle np from underneath 
through dot 1, (see above diagram,) insert it in dot A, bring it out in dot B, insert 
it in dot '1, bring it out in dot 3, insert it in dot C, bring it out in dot D, insert it 
in dot 4, bring it out in dot 5, insert it in dot E, bring it out in dot F, insert it in dot 
G, bring it out in dot 7 and insert it in dot G. You have now finished one block. 
Continue the operation in the same manner until your work is completed. 

The stem stitch is used for finishing the upper edge of the border. By using 
dift'erent shades of silk thread for each alternate block, a very beautiful effect can 
be produced. 



BASKET STITPII DIAGRAM AND PATTERN. 

INSTRUCTIONS FOR HAKINQ BASKET STITCH. 

Make a pattern from the engraving and stamp the design upon the material. 

Hold the material so that the needle will point to your left in working and 
bring the needle up from underneath through dot 1, (see above diagram,) insert 
it in dot C, bring it out in dot A, jiulling the thread all the way through, 
insert it in dot 4, bring it out in dot 2, insert it in dot D, bring it out in dot B, insert 
it in dot 5, bring it out in dot 3, insert it in dot E, bring it out in dot C, insert it in 
dot 6, bring it out in dot 4, insert it in dot F, bring it out in dot D, insert it in dot 
7, bring it out in dot 5, insert it in dot G, bring it out in dot E, insert it in dot 8, 
bring it out in dot 6, insert it in dot H, bring it out in dot F, insert it in dot 9, bring 
it out in dot 7, insert it in dot K, bring it out in dot G, and continue the operation 
in like manner by always inserting the needle one dot to the right of the last stitch 
and bringing the point out one dot to the left of the last stitch until your work is 
completed. This stitch is commonly used for liorders and for work on thin and 
.transparent materials. 

Note. — In transfering patterns from the above and foregoing designs herein con- 
tained, it is not necessary to copy the letters and figures, simply the dots and outlines. 



THK NEEDLE-WOKKEK'S GUIDE 



BKHK WTITCH DIAtiKAM AND PATTERN. 

INSTRUCTIONS FOR HAKING BRICK STITCH. 

Make a pattern from the engraving and stamp the design upon the material. 

To make the horizontal stitches representing the edge of the brick, bring the 
needle up from underneath through dot 1, (see above diagram,) thrust it down 
through dot 2, bring it up through dot 3, thrust it down through dot A, bring it up 
through dot 5, thrust it down through dot C, and continue in like manner until you 
have finished the horizontal stitches. 

To make the vertical stitches representing the ends of the brick, bring the needle 
up from underneath, through dot 1, thrust it down through dot 2, bring it up through 
dot 3, thrust it down through dot 4, bring it up through dot .5, thrust it down through 
dot 6, and continue in like manner until you have finished ths vertical stitches. 

To make the horizontal stitches, representing the seams between the brick, bring 
the needle up from underneath through dot A, thrust it down through dot B, 
bring it up through dot C, thrust it down through dot I), bring it up through dot 
E, thrust it down through dot D, bring it up tlirough dot C, thrust it down through 
dot B, and continue in like manner until you have finished the horizontal stitches. 

To make the vertical stitches representing the seams between the ends of the 
brick, bring the needle up from underneath through dot F, thrust it down through 
dot G, bring it up through dot H, thrust it down through dot B, bring it up through 
dot C, thrust it down through dot K and continue in like manner until your work is 
finished. 

In making the horizontal and vertical stitches representing the seams between 
the brick, you should use a different colored silk thread from that used in making 
the stitches representing the brick in order to give the work the desired effect. 



lUAMOND STITfll ])IA(il:AM AN1> PATTERN. 

INSTRUCTIONS FOR MAKINU DIAMOND STITCH. 

Make a pattern from the engraving and stamp the design upon the material. 

Bring the needle up from underneath through dot 1, (see above diagram,) thrust 
it down through dot 2, bring it up through dot 3, thrust it down through dot 4, bring 
it up through dot 5, thrust it down through dot 0, bring it up through dot 7, thrust 
it down through dot 8, bring it up through dot 9, thrust it down through dot 10, 
bring it up through dot 8, thrust it down through dot 1(!, bring it up through dot !), 
thrust it down through dot (!, bring it up through dot 7, thrust it down through dot 
4, bring it up through dot 5, thrust it down through dot 2, bring it up through dot 3, 
tlirust it down through dot 1. 

Continue the oj)eration in like manner until your work is completed. 



THE NEEDLE-WOKKER'S GUIDE. 



ii::iii;ixi: nox:; .s'l'iTcii 1iiai;u\m .wh rAiTEux. 
INSTRUCTIONS FOR HAKINQ HERRING BONE STITCH. 

Make a pattern from the engraving and stanajj the design upon the material. 

Bring the needle up from underneath through dot 1, (see above diagram,) thrust 
it down through dot 2, bring it up thronj;li dot 3, thrust it down through dot 4, 
bring it up through dot 5, thrust it down through dot 6, bring it up through dot 7, 
thrust it down through dot 8, bring it up throne;!! dot 9, thrust it down through dot 
8, bring it up through dot 9, thrust it down through 10, bring it up through dot 11, 
thrust it down through dot 12, bring- it up through dot 13, thrust it down through 
dot 14, bring it up through dot 15, thrust it ilown through dot 16, bring it up 
through dot 17, thrust it down through dot 16, bring it up through dot 17, thrust it 
down through dot 18, bring it up through dot 19, thrust it down through dot 20, 
bring it up through dot 21, tbrust it down through dot 22, bring it up through dot 
23, thrust it down through dot 24, and continue the operation in like manner until 
your work is finished. 

This is a very popular stitch, making a good appearance and for this reason is 
adapted to a wide range of work. It is especially useful in taking the place of the 
unsightly ridge made by a fell and for joining seams, and it should he made with a 
very coarse silk thread. 



Fiir-get-iiic-iiiit Petal Stitoli Diiigrain and Ftir-get-nie-iiot Rose Pattern 

INSTRUCTIONS FOR HAKINQ FORQET=ME=NOT PETAL STITCH. 

To make this stitch and also the Forget-me-not Rose, thread a needle with two 
strands of silk and bring it up from underneath through dot 1, (see above diagram,) 
coil the thread around so as to cover the stamjied outline of the petal as shown in 
the engraving, place the thumb of the left hand over the coil so as to hold it firmly 
in place while you thrust the needle down through the material where it was 
brought up and there fasten the thread. 

For the purpose of fastening the petal upon the material, thread a needle with a 
single strand of silk and bring it uji from underneath through dot 2 inside of the coil 
and thrust it down on the outside near where it was brought uj) and there fasten 
the thread. Proceed in like manner until all the petals are finished. 

This stitch is used for the purpose of making the petals of other small fiowers as 
well as those of the forget-me-not. 



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THK NEEDLE-WOKKEK'S GUIDE. 




AVlii'Mt (iiiriii Stitch Diiiprfmi and Wlheiit Hejul Pntteni 
INSTRUCTIONS FOR HAKING WHEAT GRAIN STITCH. 

Make a pattern from the engraving and stamp the design upon the material. 

Bring the needle nj) from underneath through dot 1, (see above diagram,) insert 
it in dot 2, and bring the point out in dot 1, allowing the needle to protrude about 
two-thirds of its length and with the right hand wind the thread around the point 
of the needle a sufficient number of times to cover the length of the grain indicated 
in the engraving, place the thumb of the left hand over the wound pait and there 
hold it firmly until the needle and thread is drawn all the way through the coil, 
then thrust the needle down through dot 2, bring it up again through dot 1, insert 
it in dot 2, bring the point out in dot 1, allowing it to protrude about two-thirds of 
its length; wind the thread around the point of the needle as before and place the 
thumb over the wound part, draw the needle and thread ill the way through the coil 
and thrust it down through dot 2 as before; this operation makes one grain. 

To make the barbs, (those small delicate thread-like fibers that project from the 
point of the grains indicated by the engraving and which should be made with a much 
finer silk thread than that used for making the grains,) bring the needle up from 
underneath through dot 8, thrust it down between the coils through dot 2. You 
then have a grain of wheat completed in all parts. Proceed in like manner with 
the others until your work is finished. This stitch is also used for embroidering 
flowers having small petals and for small leaves. 



INSTRUCTIONS FOR MAKING WHEAT HEAD. 

Make a pattern from the engraving and stamp the design upon, the material. 

Commence at the bottom of the head and work alternately on either side to the top 
or point. To make the centre grains, which are made without barbs except the 
centre grain at the extreme point of the head, indicated by the engraving, commence 
at the top or point of the head and work to the bottom. Lastly make the barbs. 



STEM ST1T(-1I DIAGRAM AK» PATTERN", 

INSTRUCTIONS FOR MAKING STEM STITCH. 

Make a pattern from the engraving and stamp the design upon the material. 

Hold the material so that figure one of the diagram will be to your left and bring 
the needle up from underneath through dot 1, (see above diagram,) insert it in dot 
A, (allowing the threiid to drop toward you before inserting the needle,) bring it out 
in dot 2, insert it in dot B, bring it out in dot ij, insert it in dot C, bring it out in 
dot 4, insert it in dot D, bring it out in dot .5, insert it in dotE, bring it out in dot 6, 
insert it in dot F, bring it out in dot 7, insert it in dot G, bring it out in dot 8, insert 
it in dot H, bring it out in dot 0, and continue the operation in like manner by insert- 
ing the needle in the second dot next the last stitch and bringing it out in the first 
dot next the last stitch until your work is finished. 

This stitch is used for making the stems of leaves, stems of wheat, golden rod 
sumach, forget-me-not and is also used for finishing the centre of the feather stitch 
and the upper edge of. the border stitch. 



THE NEEDLE-WOKKEK'S GUIDE. 



11 






Wlu'c-l Stit.li DiiiuTiUii and Pattt-ni 

INSTRUCTIONS FOR MAKING WHEEL STITCH. 

l^fake a pattern fiom thf eiitn-aviiig and ntn'np the design upon the material. (In 
making the pattern it is not necessary to i-tamii the circle lines seen in the engraving 
simply the dots.) Bring the needle up from underneath through dot 1, (see above 
diagram,) thrust it down through dot '2, biing it up through dot 3,"thrust it down 
through dot 4, bring it up through dot 2, thrust it down through dot 5, bring it up 
through dot 4, thrust it dovru through dot 7, bring it up through dot Oiiihrust it down 
through dot 6, bring it up through dot 7, thrust it down through dot 8, bring it up 
through dot 6, thrust it down through dot 9, bring it up through dot 8; thrust it down 
through dot 11, bring it up through dot 9, thrust it down through dot 10, and continue 
to take the stitches in like manner until the rim is finished. 

To make the spokes, use a different shade of silk thread from that used in making 
the rim in order to give the work a more beautiful effect, bring the needle up from 
underneath through dot 3, thrust it down through dot A, bring it up through dot B, 
thrust it down through dot 7, bring it up through dot 11, thrust it down through dot 
C, bring it up through dot D, thrust it down through dot 12, bring it up through dot 
13, thrust it down through dot E, bring it up through dot F, thrust it down through 
dot 14, bring it up through dot 15, thrust it down through dot G, bring it up through 
dot H, thrust it down through dot Ifi, bring it up through dot 17, thrust it down 
through dot K, bring it up through dot L, thrust it down through dot 18, bring it up 
through dot 19, thrust it down through dot M, bring it up through dot N, and thrust 
it down through dot 20. You have now completed one wheel. Continue with the 
others in like manner until your work is finished. 



THE NEEOLE-WORKEIl'S GUIDE. 



I'U'KiCT STITCH lUAiniA.M AND TATTERN. 

INSTRUCTIONS FOR MAKINCi PICKET STITCH. 

Make ii pattern from the engraving and stamiJ the design upon the material. 

Bring tlie needle up from underneath through dot 1, (see above diagram,) thrust 
it down through dot 2, bring it up through dot 8, thrust it down through dot ■), bring 
it up through dot 5, thrust it down through dot fi, bring it up through dot 7, 
thrust it down through dot 8, bring it up through dot i), thrust it down through dot 
10, bring it up through dot 11, thrust it down through dut 12, bring it up thr( ugh 
dot 13, thrust it down through dot 14, bring it up through dot 15, thrust it down 
through dot 1(5, bring it up through dot 17, thrust it down through dot 18, bring it 
up through dot li), thrust it down through dot 21). You now bind the pickets together 
(which should be done with a different color of thread from that used for making 
the pickets in order to give the work a more beautiful effect,) bring the needle up 
from underneath through dot A, thrust it down through dot P, bring it up through 
dot C, thrust it down through dot D, bring it up through dot E, thrust it do.wn 
through dot F, bring it up through dot (t, thrust it down through dot H, bring it up 
through dot B, thrust it down through dot K, bring it up through dot L, thrust it 
down through dot M, bring it up through dot N, thrust it down through dot P, bring 
it up through dot H, thrust it down through dot Q. You have now completed two 
pannels continue in like manner until your work is finished. 

This is one of the most popular and eiTective of all stitches represented in art 
needlework and is suitable for a wide range of work with embroidery silks, zephyrs, 
iiosses and crewels. 



CIIAIN sriTlII IHACUAM AMi I'ATTl'.RN. 

INSTRUCTIONS FOR MAKING CHAIN STITCH. 

To make this stitch, first lay out the work by placing dots upon the material 
where the chain is wanted, as shown by the above pattern. Hold the material so 
that the needle will point towards your left in working. 

Bring the needle up from underneath through dot 1, (see above diagram.) pulling 
the thread all the way through. Insert it just back of where it was brought up and 
bring the point out in dot 2, loop the thread over the point of the needle, place the 
thumb of the left hand firmly over the loop so as to hold it in place while you draw 
the thread all the way through; (this operation makes one link) then insert the 
needle just inside of the link already made and bring the point out in dot 3, loop 
the thread over the ])oint of the needle and draw it all the way through as liefore 
and continue the operation in like manner until the chain is finished. 

This simple yet very effective stitch may be used for embroidering mats for fast- 
ening down the edges of applique work and for outlining, or it may follow the 
edge of a cord couched on fancy work. 



THE NEEDLE-WOKKER'S GUIDE. 



13 




Star Stitch DiMcrr 
INSTRUCTIONS FOR MAKING STAR STITCH. 

Make a pattern from the engraving and stamp the design uiJon the material. (In 
making the pattern it is not necessary to stamp the circle lines seen in the engraving 
simply the dots.) Commence at the point of the star and work toward the centre, 
numbering the dots in each line from the extreme points to the centre of the same; 
bring the needle up from underneath through dot 1 of the first line, (see above 
diagram,) thrust it down through dot 1 of the third line, bring it up th)OUgh dot 1 
of the fourth line, thrust it down through dot 1 of the second line, bring it i\]} 
through dot 1 of the fifth line, thrust it down through dot 1 of the second line, bring 
it up through dot 1 of the third line, thrust it down through dot 1 of the fifth line, 
bring it up through dot 1 of the fourth line, thrust it down through dot 1 of the 
first line, you have now formed a star; continue as follows: Bring the needle up 
through dot 2 of the first line, thrust it down through dot 2 of the third line, bring 
it up through dot 2 of the fourth line, thrust it down through dot 2 of the second 
line, bring it up through dot 2 of the fifth line, thrust it down through dot 2 of the 
second line, bring it up through dot 2 of the third line, thrust it down through dot 
2 of the fifth line, bring it up throught dot 2 of the fourth line, thrust it down 
through dot 2 of the first line and continue in like manner until the star is finished. 

The stars may be worked in red, wliite and blue or one may be worked in red, 
one in white and one in blue to represent our National colors. 



14 



THE NEEDLE-WORKEK'S GUIDE. 




Kun-Ua Stitcli 1 liafiriun iirid Leaf I'sittein 

INSTRUCTIONS FOR MAKING EUREKA STITCH. 

Make a pattern from the leaf eugraviug aud stamp the design iipon the material. 
Hold the material so that the point of the leaf will he to the right in working. 
Commence hy working the lower part of the leaf first hy bringing the needle up from 
underneath through dot A, (see above diagram,) thrust it down through dot 1, bring 
it up through dot 2, thrust it down through dot B, bring it up through dot C, thrust 
it down through dot 8, bring it up through dot 4, thrust it down through dot D, 
bring it up through dot E, thrust it down through dot 5, bring it up through dot G, 
thrust it down through dot F, bring it up through dot G, thrust it down through dot 
7, bring it up through dot 8, thrust it down through dot H, bring it up through dot 
K, thrust it dowu through dot 9, aud continue the operation in like manner until the 
lower half of the leaf is finished. To make the upper half of the leaf, bring the 
needle up from underneath through dot A, thrust it down through dot 1, bring it up 
through dot 2, thrust it down through dot B, bring it up through dot C, thrust it 
down through dot 3, bring it up through dot 4, thrust it down through dot D, bring 
it up through dot E, thrust it down through dot T), bring it up through dot 6, thrust 
it dowii through dot E, bring it uj) through dot G, thrust it down through dot 7, 
bring it u\) through dot H, thrust it dowu througli dot H, bring it up through dot K, 
thrust it down through dot i) and continue the operation in like manner until the 
leaf is finished. .\ leaf worked in this stitch can be shaded and may be either greeu 
or in brilliant colors to represent the tintiugs which autumn gives them, and is suit- 
able for toilet articles and for table covers or for any article where a surface stitch 
is required. The stems of the leaves are made with the stem stitch. After having 
learned to make this leaf, you should take the stitches closer together than those 
represented in the above dotted diagram so that the thread will neatly cover the 
material between the outlines. 



THE NEEDLE-WOKKER'S GUIDE. 



15 




INSTRUCTIONS FOR MAKING JANINA STITCH. 

Make a pattern from the leaf engraving and stamp the design upon the material. 
Hold the material so that the point of the leaf will be to your right in working and 
bring the needle up from underneath through dot 4, (see above diagram,) insert it in 
dot 1, bring it out in dot C, insert it in dot 2, bring it out in dot 5, insert it in dot A 
bring it out in dot D, insert it in dot 3, bring it out in dot (!, insert it in dot B, bring 
it out in dot E, insert it half way between dots 4 and 5, bring it out in dot 7, insert 
it half way between dots C and D, bring it out in dot F, insert it half way between 
dots 5 and 6, bring it out in dot 8, insert it half way between dots D and E, bring it 
out in dot G, insert it half way between dots 6 and 7, bring it out in dot 9, insert it half 
way between dots E and F, bring it out in dot H, and continue the operation in like 
manner by always inserting the needle to the right, half way between the second 
and third last stitches, bringing the point out to the left the length of one stitch 
until the leaf is finished. This stitch, like the Eureka stitch, is suitable for toilet 
articles and for table covers or for any article where a surface stitch is required. 
The stems of the leaves are made with the stem stitch. After having learned to 
make this leaf you should take the stitches closer together than those represented 
in the above dotted diagram, so that the thread will neatly cover the material 
between the outlines. • 




Japan Cie-lvM-oiiib I'att' -ii 



THE NEliDLE-VVOKKER'S GUIDE. 17 



INSTRUCTIONS FOR MAKING JAPAN COCKSCOMB DESIGN. 

Make a pattern from the eugraviug and stamp the design upon the material. 

The entire flower and the stem is made with the jjlush stitch by using three or 
four shades of garnet tilloselle. Begin by tilling in all such i)arts as are marked A, 
B, and C, (as shown in the engraving,) with large French knots of a light shade of 
Berlin wool, make the knots quite large and close, then till in the remainder of the 
comb with darker knots, making them smaller as you get near the edge. This done, 
commence filling in the tilloselle in the darkest shade and when you come to any of 
the parts such as those marked A, B, and C, fill them in with lighter shades. The 
tilling in should be worked close and left quite long. The lower part from C, down 
to the point where the leaf crosses the stem, shows the green seeds with a thin 
sprinkling of velvety down. This is imitated by making the knots of grayish green 
crewel, filling it in with a strand of tilloselle made by mixing in a few threads of the 
light garnet with the grayish green tilloselle, having less garnet as you get near the 
leaf. The remainder of the stem is tilled in with pure gray-green tilloselle clipped 
quite closely. The leaf is stitched on in four shades of olive arrasene twisted. Begin 
by making the large vein with the darkest shade with the stem stitch, next put in the 
other veins with the next darkest shade, now take your lighter shade and stitch on 
the upper part of the leaf in a sort of outline stitch, beginning at the point where 
the leaf touches the stem of the cockscomb, stitch on the lower side of the leaf in 
the same way and about the same distance from the point, slanting the arrasene in 
the direction indicated by the veins seen in the engraving of the leaf, outline the 
remainder of the leaf with the next lighter shade, now fill in the remainder of the 
leaf with a shade a trifle lighter than that used for the veins, blending as well as 
you can. This flower is very effective when made up into a wall banner on felt or 
plush, and can he used for a great variety of decorative articles. 



INSTRUCTIONS FOR HAKING PLUSH STITCH. 

The flower to be made is tirst tilled in with the French knot stitch, to furnish a 
foundation and a number of strands of floss are tied with a single thread into 
bunches the desired thickness, of about one-half inch in length, clip the bunches 
off, bring the needle up from underneath through the design between the 
knots and place a bunch over the knots close to it and thrust the needle back 
through the design on the opposite side of the hunch, near where it came up. 
Continue the operation in this manner until your work is finished. The ends of the 
floss after being sewed down between the knot should be clipped ofl^ evenly with a 
sharp pair of scissors and this should be done after the filling in is completed. 

This stitch is used for making Japan Cockscomb, Princes Feather, Tops of 
Rushes and Sumach. Only flowers similar in their nature to those described, can 
be worked in this manner. 



THE NEEDLE-WOKKER'S GUIDE. 19 



INSTRUCTIONS FOR MAKING SUHACH DESIGN. 

Make a pattern from the engraving and stamp the design upon the material. 

The stems are made with dark green etching or embroidery silk in the satin stitch 
the leaves with dark green arrasene, the foundation for the tops are made with red 
Perliu wool or common yarn in the French knot stitch and are finished with dark 
red filloselle. Work all the stems first; commence at the bottom and work toward 
the top, giving the stitches the slant indicated by the cross lines seen in the engrav- 
ing of the stem. To make the leaves, thread a needle with silk to match the 
arrasene in color and stitch on one-half of the leaf first and then the other, begin- 
ning where the leaf joins the stem, stitching on the arrasene back and forth from 
the central vein of the leaf to the outside edge in both cases, giving the arrasene 
the slant indicated by the lines seen in the engraving of the leaves; now fill in the 
fops with large French knots as indicated by the dots seen in the engraving of the 
tops, (this furnished a foundation for the dark red filloselle,) thread a needle with 
button-hole twist to match the filloselle in color and stitch on the filloselle over the 
knots with the plush stitch and lastly with a sharp pair of scissors trim off the ends 
of the filloselle round and evenly and your work is completed. 



INSTRUCTIONS FOR MAKING PERFORATED PATTERNS. 

Place tracing paper over the engraved design and with a lead pencil trace the 
outlines with a steady hand. The design being accurately traced, the pattern is 
ready to be perforated. Lay a couple of folds of cloth on the table, place the traced 
pencil sketch upon this and with a needle of the medium size prick out the pattern, 
being very careful to follow the outlines and make the perforations quite close, (or 
you can perforate the outlines to good advantage on a sewing machine by removing 
the thread from the needle.) By placing three or four sheets of paper under the 
traced sketch and pinning them together, a number of patterns can be perforated 
at once. 



INSTRUCTIONS FOR MAKING STAMPING POWDER. 

Take six parts powdered rosin and four parts Marine or Prussian blue, (best 
quality,) mix well together. 

INSTRUCTIONS FOR MAKING INDELIBLE STAMPING PAINT. 

First get a small can of best zinc white, ground in oil, (in case you cannot get 
zinc white, white lead ground in oil will answer almost as well.) Put a small por- 
tion ot it in a saucer and mix it with boiled linseed oil to about the thickness of 
cream it is then ready for use. A little turpentine or japan dryer may be added to 
the paint to assist it to dry, but if too much is added it will cause the pain to dry on 
the pattern before you can get time to clean it. 



INSTRUCTIONS FOR HAKING BLACK LIQUID STAHPING FLUID. 

It is made by putting a very little lamp black into a bottle containing benzine. 
Put in just enough to make it a pale black when shaken. This makes an excellent 
stamping liquid as it dries as soon as applied and will not rub off and the patterns 
need no cleaning after they are used. It must be kept securely corked to prevent 
evaporation and away from the fire. 




Kusli I'Mrvu -C 



THE NEEDLE-WOKKEK'S GUIDE. 31 



INSTRUCTIONS FOR MAKING RUSH DESIGN. 

Make a pattern from the engraving auil stamp the design upon the material. The 
stems and blades are made with bright olive green etching silk, with the satin stitch 
begin at the bottom of the stem and work toward the top, giving the stitches the 
slant indicated by the lines seen in the engraving of the stem. To make the blades 
commence at the point where the blade joins the stem and work to the point of the 
blade, giving the stitches the slant indicated by the lines seen in the engraving of 
the blades. To make the tops, begin by filling in two rows of large French knots 
through the centre as shown by the dots in the engraving of the tops, using brown 
Berlin wool or common yarn for that purpose, this forms a foundation for the brown 
filloselle. The tops are filled in with the plush stitch, using brown filloselle for filling 
and brown button-hole twist for stitching on the filloselle; the points that project 
from the tops of the rushes seen iu the engraving are made with the stem stitch, or 
they may be made in the satin stitch, and should be a trifle lighter in color 
than that used for the stems. Now with a sharp pair of scissors trim off the ends 
of the filloselle round and evenly and your work is ready to be made up into a ban- 
ner or any article that fancy may suggest. 



INSTRUCTIONS FOR HAKINQ POUNCET. 

A good pouucet is made by tacking a piece of chamois leather to the smooth side 
of a block of wood two inches square and one inch thick, or take a strip of fine felt 
about au inch wide, (a strip from an old felt hat is as good as anything,) roll it up 
tightly into a roll and wrap it securely with cord, leaving the end flat and rub the 
end over a piece of sand paper to make it smooth and even. 



INSTRUCTIONS FOR STAMPING WITH POWDER. 

Stamping should be done on a smooth table covered with two or three thicknesses 
of cotton or ticking, upon this lay the material to be stamped, then lay the pattern 
on rough side up secure it in position by placing heavy weights upon one end or side of 
it, hold the other side or end of the pattern with one hand and apply the powder with 
the other. Take a small portion of the powder on the pouucet and.rub it first on some 
smooth surface, then strike it sharjsly against some hard surface to remove any 
surplus powder that may be upon it, then rub it over the pattern, back and forth 
with a moderate pressure, b^ing careful not to let the pattern slip and cause the 
lines to blur. Take more powder as is found necessary. The unsecured end or side 
of the pattern may be raised from time to time to allow you to see how the work is 
progressing. It will drop back into place again. Then remove the pattern carefully 
and lay a piece of thin paper over the stamping and pass a hat iron over it, this 
melts the gum in the powder and fastens the pattern to the material. The iron 
should be as hot as possible without scorching the cloth. Should the heat change 
the color of the material, iron it all over. Should the perforations become clogged 
or filled up they are easily cleaned by laying them flat on the table and rubbing 
both sides with a soft woolen cloth.. 




D<i"Woo(l Rlossonis Pattorn 



THE NEEDLE-WOKKER'S GUIDE. 23 



INSTRUCTIONS FOR MAKING DOGWOOD BLOSSOH DESIGN IN VELVET. 

Make a pattern from the engraving aiul stamp the design upon the material. The 
stems are made with olive-green etching silk in the satin stitch. Commence working 
the stems at the bottom and work towards the top of the spray, giving the stitches 
the slant indicated by the lines seen in the engraving of the stem. The leaves 
are made in three shades of green arrasene, select shades that partake of a yellow- 
ish-green cast and as you near the top of the spray use more of the lighter shades. 
Tliread a needle with silk to match the arrasene in color and stitch on one-half of 
the leaf first and then the other, beginning where the leaf joins the stem, stitching 
on the arrasene back and forth from the central vein of the leaf to the outside edge 
in both cases, giving the arrasene the slant indicated by the cross lines seen in the 
engraving of the leaves. The veins seen in the engraving of the leaf are put in 
after the leaves are finished, using a dark shade of embroidery floss or veining 
chenile. The flowers are cut out of creamy white molskin velvet, cut cardboard the 
exact shape and a fraction smaller than the outlined petal indicated by the flower 
seen in the engraving, cut the velvet large enough so that it will neatly cover over 
and tuck under the cardboard, gather the edges of the velvet together with needle 
and thread tightly, so that the upper surface will lay flat and smooth, then fasten 
the petals upon the material with a single thread of bright yellow floss, taking the 
stitches from the small circle in the centre of the petals to near the edge of the same 
as indicated by the vein lines seen in the engraving of the flower. To make the buds 
cut out a piece of velvet to match the petals in color, about two inches square, gather 
it through the centre and cover the gathering with arrasene in such a way as to give 
the bud the appearance of peeping out from under, using the same shade of arrasene 
for the covering of the bud as that used for making the leaves. The centre of the 
flowers are filled in with large French knots, as indicated by the dots seen in the 
centre of the engraving of the flower, using dark yellow embroidery floss having 
some knots made of seal brown floss. Work all the stems first, then the leaves and 
l)uds before fastening on the ]ietals and lastly the French knots in the centre. 



INSTRUCTIONS FOR STAflPING WITH PAINT. 

Place the pattern on the cloth, smooth side up, though either side will work well 
weight the pattern down as in stamping with powder and pouncet, spread a little of 
the paint in a row along the edge of the pattern fartherest from you, then draw it 
over the perforations of the pattern with a rather limber table knife. The paint 
must not be allowed to dry on the pattern, but both sides must be immediately 
cleaned with benzine or gasoline and a soft cloth. Sprinkle or pour it over the pattern 
then rub dry with a cloth. There is not the least danger of its injuring the pattern. 




WhcMt VnUvv, 



THi: NEKDLE-WOKKEIt'S GUIDE. 25 

INSTRUCTIONS FOR HAKINO WHEAT DESIGN. 

Make a pattern from tlie eugraviug and stamp the design upon tbe material. The 
stems, grains and Larbs are made with old gold colored etching silk or fillo- 
selle and the blades with a very light olive-green etching silk, the stems are made 
in tbe satin stitch, or they may be made in the stem stitch, work all the stems first, 
commence at tbe bottom and work toward tbe top, giving the stitches tbe slant in- 
dicated by tbe cross lines seen in the engraving of the stem, then work tbe blades in 
tbe satin stitch, beginning where the blade joins tbe stem and work toward tbe 
point, giving tbe stitches tbe slant indicated by tbe cross lines seen in the engraving 
of the blade, now make the grains in the wheat grain stitch, begin at tbe bottom 
of tbe head and work alternatly on either side to tbe top or point of the head, then 
work the centre grains, working from the top to the bottom of tbe head and which 
are made without barbs except the centre grain at the extreme point of the bead as 
indicated by the engraving, lastly make the barbs, (the small delicate thread-like 
fibre that projects from tbe point of the grain as indicated by the engraving of tbe 
head,) which must be made with a much finer thread than that used for making tbe 
grains, in order to give the design the desired effect. 



SATIX STrrtll DIAGRAM AND PATTERN. 

INSTRUCTIONS FOR HAKINQ SATIN STITCH. 

Draw upon tbe material where you desire to make the stitch, two jiarallel lines of 
equal length and of about one-fourth of an inch apart as indicated by the above out- 
line engraving or of whatever width you desire to make tbe stitch. Tbe right-band 
outline B should extend beyond the left hand outline A, equal to one-half tbe 
distance tbe lines are placed apart, in order to give tbe stitches the proper slant as 
indicated by tbe above outlined engraving. In working this stitch, great care must 
be taken that tbe edges are worked even on both sides and the stitches taken very 
close so that tbe thread will neatly cover tbe space between the outlines of the 
pattern. Hold the material so that in working, tbe needle will point to the left and 
work from you. Bring tbe needle up from underneath through the end of outline A, 
(see above diagram,) insert tbe needle in tbe end of outline B, bring it out in out- 
line A, insert the needle in outline B, bring it out in outline A, and continue the 
operation in like manner by always inserting tbe needle in outline B, and bringing 
it out in outline A until your work is completed. This stitch is used for making the 
stems of the following flowers: Dogwood, Fuchsia, Golden Rod, Poppy, Plush Kose, 
Rushes, Scotch Thistle, Sumach, Wheat and for making tbe blades of Rushes, 
blades of Wheat, etc. 

INSTRUCTIONS FOR STAMPING WITH LIQUID FLUID. 

Take an empty spool, plug up the hole with wood and make a distributor by fold- 
ing two or three ply of felt over one end, leaving tbe felt long enough to overlap 
part of the side of the spool, securing the felt to the spool by winding it with twine. 
You now place tbe felt end of tbe spool to the mouth of tbe bottle and tip it up a 
number of times until the distributor is well saturated, now place the perforated 
pattern upon tbe material to be stamped, smooth side up, and rub tbe saturated 
distributor over tbe perforations. 




Guillen i:.«l I 



THE NEEDLE- WOKKER'S GUIDE. 27 



INSTRUCTIONS FOR MAKING QOLDEN ROD DESIGN. 

Make a pattern from the engraving and stamp the design upon the material. 

The stems are worked with dark green etching silk in the stem stitch, or they 
may he worked in the satin stitch. Make the large stem first then the smaller ones, 
working them the full length of the hranches as shown in the engraving. The 
leaves are worked in the eureka or janina stitch, using the same shade of etching 
silk as that used for making the stems, or they may be made of dark-green arrasene 
as follows: Thread a needle with silk to match the arrasene in color and stitch on 
one-half of the leaf first and then the other, beginning where the leaf joins the 
stem, stitching on the arrasene back and forth from the centre of the leaf to the 
outside edge, in both cases giving the arrasene the slant indicated by the lines seen 
in the leaves of the engraving, now fill in the branches with French knots, using 
yellow fiUoselle in its pure golden hues. The knots and filling in stitches 
must be done with neatness, but regularity in arrangement need not be aimed at as 
they may be taken up whenever there is a necessity. 



INSTRUCTIONS FOR MAKING FORGET-ME-NOT DESIGN. 

Make a pattern from the engraving and stamp the design upon the material. 

The stems and leaves are worked with green silk floss, the flowers and buds with 
blue filloselle and the centres of the flowers with old gold or yellow colored silk floss. 
Work all the stems first, commencing at the bottom and work each of them the 
full length of the branches. The stems are worked in the stem stitch, the leaves in 
the eureka or janina stitch, the flowers and buds in the forget-me-not artitch or they 
may be made in the wheat grain stitch. The centre of the flower is filled iu with 
the French knot stitch. After having finished the stems, work the leaves, then the 
flowers and buds, lastly fill in the centre of the flowers. 



INSTRUCTIONS FOR MAKING FRENCH KNOT STITCH. 

To make this stitch bring the needle up from underneath at the point where the 
knot is wanted, now catch the thread with the left hand about two inches from the 
material upon which you work, hold the needle in the right hand quite close to the 
material and with the left hand wind the thread twice or thrice around the point of 
the needle, after which hold the thread tightly and with the fore-finger of the right 
hand, shove the wound thread down towards the point of the needle as you thrust it 
back through the material at about the same place it was brought up. This opera- 
tion forms the knot; you then bring the needle up where the next knot is wanted 
and repeat the operation. This stitch is used for the foundation of the blossoms of 
the Scotch Thistle, Tops of Bushes, Sumach, Japan Cockscomb, Plush Stitch and 
is used in making Golden Rod, Ends of Stamens and the Centre of Flowers. 




I'lu^i, i;, -.. i>Mtt> 



THK NEEDLE- VVOKKEK'S GUIDE. 



INSTRUCTIONS FOR MAKING PLUSH ROSE DESION. 

Make a pattern from the eugraving ami stamp the design upon the material. 

The stems are made with olive-green etching or embroidery silk in the satin stitcli, 
or they may be made with olive-green chenille, work all the stems first commence at 
tlie bottom and work toward the top giving the stitches the slant indicated by the 
lines seen in the engraving of the stem. The leaves are made with olive-green 
chenille, thread a needle with silk to match the chenille in color and stitch on one- 
half of the leaf first and then the other, beginning where the leaf joins the stem 
stitcliing on the chenille back and forth from the central vein of the leaf to the 
outside edge in both cases, giving the chenille the slant indicated by the lines seen 
in the engraving of the leaves. The roses are made by cutting silk into small 
squares, (care being taken to select a shade appropriate to the rose,) doubling each 
of them on the bias, thus forming triangles and then bringing the three corners 
together by gathering, this forms a petal of which five are then made. A piece 
of buckram is then cut the exact shape and size of the outline of the rose seen 
in the engraving upon which the petals are sewed, this is begun at the circumference 
and the centre is filled in with smaller petals To make a bud, a large petal is used, 
it is gathered through the centre and the gathering covered with chenille in such a 
way as to give the bud the appearance of peeping out from under, the centre of the 
rose, is filled in with French knots as shown by the dots inclosed within the circle 
seen in the engraving of the rose, care being taken that the color of floss used for 
the knots is appropriate to the rose, the vein lines seen in the centre of the engrav- 
ing ot the petals, running from the centre circle to near the outer edge of the petals 
are made with a single strand of floss, using the same shade as that used for the knots. 



KENSINGTON OUTLINE STITCH DIAGRAM AND PATTERN. 

INSTRUCTIONS FOR HAKINQ KENSINGTON OUTLINE STITCH. 

Make a pattern from the engraving and stamp the design upon the material. 

Hold the material so that the needle will point to the left and allow the thread to 
drop from you in working. Bring the needle up from underneath through dot 1, 
(see above diagram,) insert it in dot A, bring the point out in dot 2, insert it in dot 
B, bring the point out in dot 3, insert it in dot C, bring the point out in dot 4, insert 
it in dot D, bring the point out in dot 5, insert it in dot E, bring the point out in dot 
(i, insert it in dot F, bring the point out in dot 7, insert it in dot G, bring the point 
out in dot 8, insert it in dot H, bring the point out in dot 9 and continue the opera- 
tion by inserting the needle in the upper right hand dot and bringing the point out 
in the lower left hand dot until your work is finished. 

This stitch is in reality the sam3 as the stem stitch, only that by the insertion 
now and then of a stroke representing the folds of drapery and the veins of leaves, 
the unbroken outline is relieved. This is now recognized as the best stitch for em- 
broidery work. The favorite designs for this stitch are foliage, butterflies, and 
animals and they are usually made on satin. This stitch represents outline sketch- 
ing with a pencil or crayon. 



THE NEEDLE-WOKKEK'S GUIDE. 31 



INSTRUCTIONS FOR MAKING SCOTCH THISTLE DESIGN. 

Make a pattern froni the eii:;iaving and stamj) the design upon the material. 

Commence by working the stems first with the satin stitch beginning at the bottom 
of the large stem, giving the stitches the slant indicated by the lines seen in the 
engraving of the large stem, then the smaller ones giving the stitches the same slant 
using olive-green embroidery or etching silk for that purpose. Now fill in three 
rows of large French knots, four knots in each row and one in each corner of the 
the oblong circle seen just above the bulb in the outlined blossom on the left hand 
side in the engraving, using common yarn for that purpose. This furnishes a foun- 
dation for the mauve lilloselle, (a thistle pink) this done, fill in each bulb with a gray 
shade of Berlin wool or common yarn as shown in the engraving of the partly finished 
blossom, stitch the yarn on with needle and thread, back and forth, then cross-wise 
until you give the bulb a natural rounded appearance. The mauve filloselle to 
form the blossom should be doubled to about the thickness of a small size lead pencil 
lay the end of the filloselle about one and a half inches above the upper row of 
knots, looping it around the knots as you lay it back and forth. Thread a needle 
with strong thread and bring it up from underneath between the upper row of knots 
catching the filloselle as the needle is passed back through the material, drawing 
the thread tightly, this has a tendency to make the filloselle stand out straight and 
as you donot want this effect for the blossom you at once see that something more is 
needed to make the filloselle lay fiat on the material, hence we take another fasten- 
ing stitch as shown in the pattern, and catch both strands of the filloselle a little 
above the last stitch which causes the filloselle to lay fiat and this operation is re- 
peated until three rows of filloselle are sewed down, a glance at the finished blossom 
shown in the pattern will give ar. idea of the effect to be aimed at. The leaves are 
made with a grayish-green arrasene, thread a needle with silk to match the arrasene 
in c(dor and stitch on one-half of the leaf first and then the other, beginning in the 
center of the leaf where it joins the stem, stitching on the arrasene back and forth 
from the center to the outside ed;^e in both cases or you may make the leaf by stitch, 
ing on the arrasene back and forth from one edge of the leaf to the other, giving the 
arrasene in both cases the slant indicated by the lines seen in the engraving of the 
leaves, and with the same thread make short stitches here and there to represent 
the thorns on the edge of the leaves as indicated by the short lines seen projecting 
from the edge of the leaves seen in the engraving. By working in this manner no 
arrasene is wasted on the underside of the material. The leaves being stitched on 
and the upper part of the blossom baing filled in with filloselle, now begin to cover 
the yarn foundation of each bulb ^ ith the same shade of arrasene as that used for 
the leaves, stitching on the arravuue diagonally over the bulb, stitch the arrasene 
quite close so that none of the yarn foundation will show through, stitch the aria- 
sene up so as to join the filloselle which forms the blossom, now thread a needle 
with olive-green etching silk and carry long stitches back and forth over the arra- 
sene in such a way as to form squares on the bulb. Now comb out the blossoms to 
give them a downy appearance, the ends of the filloselle is then clipped with a sharj) 
pair of scissors, the shape indicated by the circle lines seen above the bulbs and 
your work is ready to be made up into aliy article that fancy might suggest. 



32 THE NEEDLE-WORKER'S GUIDE. 



fkath?:k sTiTiii iiiAi.KAM AMI i'Arri;i;N\ 
INSTRUCTIONS FOR MAKING FEATHER STITCH. 

To make this stitch, draw upou the material where you desii'e to maketlie stitch, 
three parallel lines of equal length, three-eighths of an inch apart as indicated by 
the above outlined engraving, or of whatever width yrai desire to make the stitch. 
The centre line B, should extend beyond the two outside lines A and C, equal to 
one-half the distance that A and C are placed apart in order to give the stitches the 
proper slant as indicated by the above outlined engraving. In working this stitch, 
great care must be taken that the edges of the feather is worked even on both ; ides 
and the stitches taken very close so that the thread will neatly cover the spaces 
between the outlines of the jiattern, (the centre or stem of the feather is made with 
the stem stitch after the sides are finished.) Hold the material so that in working 
the feather will point from you. Bring the needle uj) from underneath through the 
end of outline A, (see above diagram, ) take a stitch in the end of outline Vt, thrust the 
needle down and bring it up in the end of outline C!, take a stitch in outline 1 >, thrust 
the needle down and bring it up in outline A, take a stitch in outline B, thrust the 
needle down and bring it up in outline G, and continue the operation in this manner 
until your work is completed. This stitch can be worked to good advantage in the 
following manner: Hold the material so that in working the point of the feather 
will be to your right. Bring the needle up fiom underneath through the end of out- 
line A, take a utitch in the end of outline B, pointing the needle to the right take a 
stitch in the end of outline C, pointing the needle to the left take r stitch in outline 
B, jjointing the needle to the left take a stitch in outline A, pointing the needle to 
the left take a stitch in outline B, pointing the needle to the right you will observe 
that the needle is pointed to the left at all times except when working down from 
outline A toward outline C, the needle is pointed to the right in outline B. This 
stitch when worked in two colors, produces a very pretty efifect. 



BLANKET OR BTITTOX-HOLE STITCH DIAGRAM AND PATTERN. 

INSTRUCTIONS FOR HAKINQ BLANKET OR BUTTON HOLE STITCH. 

Draw upon the material where you desire to make the stitch, two parallel lines of 
equal length and of about one-fourth of an an inch apart as indicated by the above 
outline engraving or of whatever width you desire to make the stitch. In working this 
stitch great care must be taken that the edges are worked even on both sides and 
the stitches taken very close so that the the thread will neatly cover the space between 
the outlines of the pattern. Hold the material so that in working the needle will 
point to the left and work from you. liring the needle up from underneath through 
the end of outline A, (see above diagram,) insert the needle in the end of outline B, 
bring the point out in outline A, looj) the thread over the needle and place the thumb 
of the left hand firmly over the loop so as to hold it in place until you draw the thread 
all the way through, insert the needle in outline B, bring the point out in outline A, 
loop the thread over the needle, place the thumb of the left hand over the loop and 
draw the thread all the way through and continue the operation in like manner by 
always inserting the needle in outline B and bringing the point out in outline A, 
looping the thread over the needle and placing the thumb of the left hand over the 
loop and drawing tlie thread all the way through as before until your work is 
completed. 



THE NEEDLE-WOBKEK'S GUIDE. 33 



INSTRUCTIONS FOR MAKING DOQ-WOOD BLOSSOM DESIGN IW ARRASENE. 

Make a pattern from the engraving on page 22 and stamj) the design upon the 
material. 

The stems are made with olive-green etching silk in the satin stitch. Commence 
working the stems at the bottom and work towards the top of the spray, giving the 
stitches the slant indicated by the lines seen in the engraving of the stems. The 
leaves are made in three shades of green arrasene, select shades that partake of a 
yellowish green cast, and as you near the top of the spray use more of the lighter 
shades. Thread a needle with silk to match the arrasene in color and stitch on 
one half of the leaf first and then the other, beginning where the leaf joins the stem 
stitching on the arrasene back and forth from the central vein of the leaf to the 
outside edge in both cases, giving the layers of arrasene the slant indicated by the 
lines seen in the engraving of the leaves. 

The sepals that show on the back of some of the blossoms and buds are also made 
of green arrasene and are stitched on the same as the leaves. The veins are put in 
the leaves and sepals after they have been stitched on, with a very dark shade of 
embroidery floss or veining chenille. The petals may be made in two shades of 
cream white arrasene or in two shades of white ribbosene, using the darker shade near 
the centre. Begin by stitching on the arrasene, (using white silk thread for that 
purpose, / back and forth from the outer edge of the circle seen in the engraving of 
the flower to the outside edge of the petal, being very careful to keep the ends of 
the arrasene which are near the centre of the flower closer together than the ends 
nearer the outside edge, so that the petal will converge towards the centre. 

The centres of the flowers are tilled in with large French knots, using dark yellow 
embroidery floss, having some knots made of seal brown floss. 

The veins in the petals as shown in the engraving are put in with one long stitch 
for each vein using a light shade of yellow floss. 

If the work presents a drawn aj)pearance when finished, this can be remedied by 
steaming the back of it and then stretching it over a board for a short time. 

This graceful design of dog wood blossoms is well adapted to the greatest variety 
of decorative purposes, bracket drapes, wall banners, sofa cushions, and chair tidies. 






34 THE NEEDLE-WORKEK'S GUIDE. 

INSTRUCTIONS FOR MAKING FUCHSIA DESIGN. 

Tilt' stems are worked with dark greeu etching silk in the satin stitch. The leaves 
are made in three shades of dark green arraeene. The flowers may be made in the same 
mauve tints, using two shades of mauve arrasene, or the flowers on one branch may 
be made in delicate pink tints using two or three shades of pink arrasene. The parts 
shown light in the fuchsia are made with white arrasene. Work all the stems first, 
commencing at the bottom and working toward the toji of the spray, giving the stitches 
the slant indicated by the dotted lines seen in the pattern of the stem. To make 
the leaves, use the darkest of the three shades of arrasene for the lower leaves and 
the lighter shades as you approach the top of the spray varying the shades in each 
leaf. Thread a needle with silk to match the arrasene in color and stitch on one- 
half of the leaf first, and then the other, beginiug where the leaf joins the stem, 
stitching on the arrasene back and forth from the central vein of the leaf to the out- 
side edge in both cases, giving the layers of arrasene the slant indicated by the dotted 
lines seen in the pattern of the leaf, proceed to make the other half of the leaf as 
well as all others in the same way. To make the flowers fill in a small portion of 
light mauve arrasene near the white portion then work in the darker shades last, 
blending the shades into each other vary the shading in each flower. If it be desired 
to make the flowers on one branch in pink tints it can be done in the same way by 
using two or three shades of pink arrasene. The buds are made with white arrasene, 
having a very light pale green blended in near the bulb, (that part nearest the stem.) 
To make the bulb, thread a needle with any ordinary sewing thread and stitch on Berlin 
wool or common yarn, back and forth, then crosswise, double the yarn and repeat the 
stitches until you give the bulb a natural rounded appearance; now cover this yarn 
foundation with a medium shade of greeu arrasene, stitching on the arrasene diagonally 
over the bulb, stitch the arrasene quite closely so that none of the yarn foundation 
will show through, stitch the arrasene up so as to join the arrasene which forms 
the blossom. The anthers are put in with the French knot stitch at the end of each 
stamen, using a bright pink etching silk to make the knots. The stamens (thread- 
like organs protruding from the i)oint of the flowers) are put in with bright colored 
etching silk. The veins of the leaves are put in as follows: Thread a needle with 
dark green enbroidery floss and bring it up from underneath through the material at 
the upper end of the central vein now draw the floss down to the point where the 
first cross vein meets the central onf, hold the floss into place with the thumb of the 
■ left hand now insert the needle at the outside end of the first j;ross vein and bring 
the needle out at the point where it meets the central vein but bring the needle out 
on top of the floss held by your thumb, now insert the needle at the outside end of 
the next vein on the other side of the central vein and bring it out on top of the 
thread where the vein meets the central vein and so on till the veins are all put in. 



THE NEEDLE- WOKKER'S GUIDE. 35 



INSTRUCTIONS FOR HA KING RED POPPY DESIGN. 

You will require three or fouj' shades of olive-green chenille for the stems, leaves 
and hulhs and three shades of garnet chenille (poppy tints) for the flowers and buds a 
little yellowish-green etching silk for the stamens, a skein of seal brown embroidery 
silk for the French knots, with which to put in the anthers will complete the list of 
materials. The stems are worked in the satin stitch with the darkest of the three 
shades of chenille, commence at the bottom of the large stem, giving the chenille the 
slant indicated by the dotted lines seen in the pattern of the stem, then work the, 
leaves which are made of a medium shade of olive-green chenille. For stitching on 
the leaves, thread a needle with silk to match the chenille in color and stitch ou one- 
half of the leaf first, and then the other, begining where the leaf joins the stem, 
stitch on the chenille back and forth from the central vein of the leaf to the outside 
edge in both cases, giving the chenille the slant indicated by the dotted lines seen in 
the pattern of the leaves, care being taken to use a lighter shade of chenille for the 
tips of the leaves, the smaller leaves near the top of the spray are made in a lighter 
shade as is also the smaller leaves at the bottom. 

Begin making the large flower by stitching on the chenille back and forth from the 
outer edge of the centre circle to the outside edge of the petals, using the lightest 
shade of garnet chenille, now stitch on an other row of chenille of the medium shade, 
blending it into the lighter shade, the remaining portion near the centre is then 
stitched on with the darkest shade, being very careful to keep the ends of the chenille 
which are near the centre of the flower, closer together than the ends nearer the outside 
edge, so that the petals will converge towards the centre. 

The petals are made to show a little more light garnet chenille near the outside 
edge, while the three small jietals, which are shaded by the green leaves above 
them, are made with the darlicst shades of chenille, almost throughout with the 
exception of a very few bright layers at the outside edge of each. Now till in the 
centre, indicated by the circle seen in the centre of the pattern of the flower, with 
French knots, using the medium shade of olive-green chenille. This done, thread 
a needle with yellowish green etching silk and take long stitches from the outside 
edge of the centre circle to near the outside edge of the petals as indicated by the 
lines seen in the pattern of the smaller flower, and with the seal brown embroidery 
silk make a large French knot, at the extreme end of each stitch, this forms the 
stamens, and anthers, and also completes the flower. 

The small flower is made in the same manner, using only the two lighter shades, 
the inside portion is all made with the brightest shade of garnet-chenille with the 
exception of a few layers of dark near the top to indicate the shadow caused by the 
turning over of the petal, the two outside petals are made throughout with the 



36 



THE NEEDLE-WORKER'S GUIDE. 



darkest shade with but a few bright layers at the top of the outside upper petal, we 
will now direct our attention to the bud near the bottom ot the spray, the chenille 
at the point of the bud is darker than the rest and is made with the darkest shade 
of garnet chenille and the rest of the bud is made with the darkest shade of olive- 
green chenille, bring the green partly over the lower ends of the garnet, thus giving 
the red portion of the hud the appearance of peeping out from under the green. 
Now make the upper bud near the large flower, stitch on the top part with the 
medium shade of chenille and for that part nearest the bulb, use the darkest shade ; 
when this is done, make the bulb, (that part of the bud nearest the stem,) with the 
medium shade of olive-green chenille, stitching the green chenille up partly on the 
red portion of the bud. The bud below this one is made throughout in olive-green 
chenille with the exception of two or three layers of bright garnet chenille at the 
point. The bud above the small flower shows but one la* sr of garnet chenille. 
Your material is now ready to be made up. Two and a quarter yards of silk ball 
fringe will be required for trimming and silk jjon-pons for the corners. Fringe and 
pon-pons of varigated garnets would look pretty. 



.GUIDE TO., 



KE[^SINGTON ^^ PAlf^TING, 



KENSINGTON OUTLINE 



czDii.^ i=>.^irsrnrii^^ 



BRUSH AND PEN. 



38 GUIDE TO KENSINGTON PAINTING. 



■^ ■■ "'• ■'• ■'• ■'• ■'• ■• ^-l^ 



It is the desigu of the author to give, in an easy and simple manner, such useful 
and practical instructions to beginners in the art of flower painting as shall enable 
them to make rapid and satisfactory progress. 

In the range of material, objects which attract the attention and now employ the 
pencil of the artist, none are more inviting than the painting of flowers. Everything 
which can charm the eye is found to be associated in their forms, elegant, graceful, 
and varied, giving rise to combinations of light and shade, similarly diversified and 
charming. These colors, ranging from one end of the chromatic scale to the other, 
embrace within their scope the most brilliant and gorgeous hues, the tenderest and 
most delicate tints, while they possess in addition, surface and texture of equally 
varied characters, thus combining in themselves every physical attribute of that 
subtle aad elusive quality — beauty. It is only surprising that more regard has not 
hitherto been bestowed upon flower painting. Kensington painting is so called 
because it is an immitation of the Kensington silk embroideries done with the 
needle. It is not an easy painting by any means, but work which requires an 
intimate knowledge of painting, the use of oils, and shading. Of course in all work 
inferior and tawdry work may be done, whether it be with the brush, pen or needle, 
but it is possible to produce, and there are being produced constantly, exquisite 
pieces of Kensington painting by careful workers, which at a distance can scarcely 
be distinguished from the needle-work they are intended to represent. It is scarcely 
possible in a written explanation of artistic work, to give as full and complete 
information as in actual teaching, but if the instructions hereafter given are care- 
fully followed, a good idea of the mode of operation is obtained. 

In Kensington painting, the paint used is obtained in tubes, and is the same used 
for oil painting on canvas. It is better to use the paint as it comes from the tubes 
without moistening or thining it. The paint is thus purer and gives a heavier and 
a richer appearance to the work. The paint may sometimes dry, in which case it 
may be moistened with a drop of linseed oil or turpentine. It is not necessary to 
have a pallet in using the paints, as a talile knife serves the purpose just as well. 



GUIDE TO KENSINGTON PAINTING. 39 

The knife is held in the left hand, with the sharp edge towards the worker. The 
only other articles required to complete the list are two long pointed pens, one 
smaller and finer than the other for the more delicate work of finishing off, a camels 
hair brush No. 5, cut square off so that it cannot be rolled to a point, a darning 
needle No. 18 or 20, and a rather fine needle with the eye-point stuck into a wooden 
handle to make it firm, and a smooth piece of board to stretch the material upon. 
With these few simple utensils the operator is ready for work. 

Colors used. — Geranium Lake, White, Madder Lake, Emerald-Green, Chrome- 
Yellow, Raw Sienna, Raw-Umber, Naples-Yellow and Vermilion Red. These are 
the colors for painting Moss Rose, Wild Rose, Easter Lilies, Wegelia, Poppy, Dasies, 
Golden Rod, Wheat, Etc., telling what paints to use for each tlower, the order in 
which they are applied, and how to mis them to produce the desired shade in each 
flower. 

The first work to be done after selecting the design you desire to paint, is to make 
a pattern and stamp the same upon the material, care being taken when the material 
selected is velvet, that the pile or nap is not too long or thick. Stretch the material 
upon the board and fasten it with very small tacks. The material must be put on 
the board without any wrinkles, and if velvet, the pile should be worked down as 
smooth as possible. It may be surprising to know that most of the painting is done 
with a tooth pick or pen, placed in a holder the same as for writing, and instead of 
using a pallet for holding and mixing paints, you use a common table knife. Take 
a small quantity of the paints you are using and place here and there along the knife, 
using the knife for holding the paints is one of the secrets of the art, simple as it 
may appear. If you should use a pallet you will find that when you have a 
quantity of paint on the pallet and you dip your pen in it, the jiaint has clgoged 
the point of your pen so that you cannot see the point. In order to do the work 
neatly this must never occur. When you are ready to put the paint on the material 
the paint on the point of the pen should be where the ink would naturally be in 
writing, on the underside of the pen. In order that the paint may be left only on the 
underside of the pen, you must use for a pallet something that has a sharp edge, so 
that by using a knife after you have dipped the pen in the paint you have a desirable 
edge to draw the edges of the pen over, thereby cleaning the edges of the pen to the 
point, leaving the paint on the back or in the hollow of the pen. The proper way 
to work is to hold the knife in the left hand, up from the table, and with the right 
hand do the painting. You can move the material if you wish, when you have 
finished one part of a flower, to the position that will be most convenient for your- 
self, being careful not to rest your hand on the paint you have just put on. 



40 GUIDE TO KENSINGTON PAINTING. 

USING THE PEN AND BRUSH. 

Hold the pen in your hand the same as for writing, place the point of the 
pen on the line of the design with the edge side of the pen under, (instead of 
hollow side as in writing,) with the hollow side of pen facing outside of pattern. 
Then as you draw the pen toward you in making the stitch, gradually turn the 
pen so that the hollow side of it would come under, as in writing. The stitches 
are generally from one-sixteenth to one-eighth of an inch in length. It is diflficult 
to say just how long the stitches should be as they vary in different flowers and 
different parts of the same flower. It is a very peculiar painting; standing a short 
distance from the work it looks very much like the Kensington embroidery. 

After the outline of the leaf is finished with the pen, representing the outline 
stitch, the brush is used for filling in the proper shade of the leaf. After the leaf 
has been painted with the brush between the outlines, the pen is used in as the 
making the veins of the leaf. The veins are painted to imitate the stitch the same 
outline. Nearly all the large flowers are made similar to the leaf. The outlines 
of the flowers and corolla are finished with the pen, also representing the stitch; the 
filling in between the outlines is done with the brush. Always paint the corolla 
near the centre, a trifle deeper than the outside or edge of the flower. A. great deal 
of judgment and taste must be exercised in the choice and application of paints, 
special care being taken to imitate the natural colors of the flowers and leaves. 

In making a leaf that has nothing but green in it, nothing but green paint is used 
The leaves of ferns and the lily-of-the-valley are almost entirely green with a slight 
touch of yellow or red. Diamond dust may be sprinkled into the paint while it is 
moist, as it gives a decided improvement to the work. The material is left tacked 
on the board until the paint is thoroughly dry, when it can be dusted with a wisk 
without injury. 

THE STRUCTURAL ARRANGEMENT OF FLOWERS. 

The blossom of a plant or that which is usually denominated a flower, is generally 
composed of the following distinct parts : The Calyx, so named from a latin word 
signifying a cup, the Corolla, named from a latin word denoting a crown, the Peri- 
carp is the seed vessel or organ of generation. When coloring a flower or object, 
use a color the same as the object to be deliniated; the outline completed, the next 
process is to tint in the different local colors. Never work to, but always from the 
starting point. Properly speaking, there are but three colors in nature, these are 
red, yellow and blue; they are called primaries, orange, green, purple, and all other 
hues are only composed from the first three named. The student has then to con- 



GUIDE TO KENSINGTON PAINTING. 41 

sider when regarding a color in nature, if it be not one of the primaries, in what 
proportion it in composed of them. For instance, if orange be the color under con- 
sideration, the proper quantities of the red and yellow must be determined by mixing 
a little of each, adding a little of one or the other until the desired shade is obtained; 
if green is desired, mix the yellow and blue; a very small portion of red will subdue 
the brilliancy of green, thus again with purple, which is formed of red and blue, the 
addition of yellow destroys its purity; in case of orange, blue will destroy or subdue 
its brilliancy. 

If for instance it is desired to make a spray ol dasies and a fern on a piece of black 
velvet on which the design has first been stamped and the material placed on the 
board as smooth as possible. The white of the daisies is the first thing to make, 
which is done by placing as much white paint on the knife as will complete the 
flowers. A small slice of paint is cut from the lump with the coarse pen, then placed 
upon the knife blade and worked from side to side of the pen, with the hollow part 
of the pen from the operator, until it is well worked and soft. The point of the pen is 
then drawn through the paint sidewise until there is a strip of jiaint in the narrow 
part of the point of the pen. The operation is begun at the top of the flower by 
sticking the pen into the pile of the velvet in about the same way that ink is put on 
paper, and the j)alut is left as near the top of the leaf as jjossible. The fine pen 
is then brought into use in stroking the paint down towards the centre of the flower, 
with the nibs well opened in so doing. As the flower is naturally darker towards 
the centre, less paint is worked into it and the dark of the velvet serves as the shade 
at the bottom of the flower. Care must be taken to put the paint on in large 
quantities or the flower will look flat and thin and unlike the silk embroidery 
it is intended to imitate. It takes but little practice until the worker is able to 
easily imitate the thread-like appearance with the strokes of the pen. 

In making the leaves, the brush is used. It is put into a lump of paint of what- 
ever kind is used, and twirled round until it is thick with paint at the point. The 
brush is then pressed down into the pile of velvet at the top of the leaf, and rolled 
between the thumb and fore-finger lightly, leaving the paint on the sides, which is 
afterwards stroked down by the fine pen as in making the flower. When the leaf is 
small the large pen is used in putting on the paint, but when the leaf is large and it 
is necessary to put the paint on thickly, the brush can be used to better advantage. 
It is more difticult to use the brush than the pen, but as the use of the brush 
expediates the work and a little practice renders the worker proficient in using it, it is 
better to use it. Sometimes in making leaves, bright colors are required, but instead of 
putting them on separately, it is better to mix them on the knife blade with the pen and 



42 GUIDE TO KENSINGTON PAINTING. 

tlieu apply. If for instauce a rose leaf is to be made, instead of using all green and 
then putting in the veins and darl^ shades with some other paint, it is better to have 
a little yellow, burnt sienna and Indian red mixed along with the green, and it is 
then applied with the large pen and stroked with the small one, as was done with 
the white in making the dasies. This is done in this manner to give tlie jiaint the 
appearance of varied silks. The stems and ferns are made by using the darning 
needle, which is rolled through the moistened paint until it is thickly covered. It is 
then passed heavily along the centre of the stem to be made, thus leaving more 
paint on the sides. 

In making the smaller stems and ferns, and all fine work, the small needle is 
used. 

INSTRUCTIONS FOR PAINTING GOLDEN ROD. 

The flower is finished first. You can get the light shade of yellow by using 
chrome-yellow for the dark shades that are put in here and there, use chrome- 
yellow and raw sienna mixed, also Najjles-yellow and raw sienna mixed. The entire 
flower is finished with the pen, making the stitches irregular, but in such a manner 
that they will run toward the stems. For the light shades on stems, use emerald- 
green. It would be well to take your pen and put a stitch on here and there among 
the flowers, close to the stem, with emerald-green. 

INSTRUCTIONS FOR PAINTING WHEAT. 

The tops are finished first. You can get the pioper shade by using Naples-yellow 
and white mixed. The tops are made with the pen used in a different manner than 
you would use it for most all other flowers. You must first get quite a large 
quantity of paint on the pen, clean the edges on the edge of the knife in the usual 
way, then, instead of beginning the stitch with the edge of the pen on the material, 
place the pen squarely on the material, with the hollow side underneath; then press 
on the pen until it opens so that it will leave paint on both sides of the pen and a 
trifle in the middle; a stitch in this way forms a grain. The small delicate fibre 
that projects from the wheat tops is made by the pen with same color as the wheat. 
The blades are first brushed in with Naples-yellow and white, mixed; the outlines of 
blades and stems are put on with the pen, using same color as used for the wheat 
grain ; in order to get a green shade for lower blades, mix a little emerald-green 
with white and yellow, mixed. The outlines and stems and veins are put on with 
pen in stitch form, using same color as for brushing in the blades. 
INSTRUCTIONS FOR PAINTING EASTER-LILY. 

pjfginning with the bud, to get the pink shade, use a little geranium lake with the 
white; in painting the open blossom first brush in a little white, then the outlines 



GUIDE TO KENSINGTON PAINTING. 43 



are put on in wbite with the pen, to imitate the stitch. The veins are also pnt on 
in white; the pistil, jirojecting from the centre of the flower is jiut on with the pen 
using emerald-green at the top of the pistil; the light shade is made by mixing 
chrome-yellow and white; the stamens are put on in the form of the stitch with the 
pen, using chrome -yellow, in jiainting the leaves, brush in chrome -yellow and white 
mixed. In brushing in the darker shades, use emerald-green mixed with raw 
sienna; let the brighter shades dry a little before the darker shades are brushed in 
while you are working on some other part of the design it will dry enought. 
The outline of the leaf is put on with the pen, representing the stitch; for the 
bright shades use emerald-green mixed with chrome-yellow or white; for the darker 
shades use emerald-green mixed with raw sienna. The veins are put on with the 
pen representing the stitch; for the light colored ones, use Naples-yellow and white; 
for the dark ones use raw sienna and emerald-green. The stem is put on with the 
pen, (imitating the stem or outline stitch as nearly as possible) using raw umber 
and emerald-green. 

INSTRUCTIONS FOR PAINTING DAISY. 

The corola is finished first. You can get the projjer shade by using pure white 
It is put on with the pen representing the stitch; the centre of the daisy is finished 
with chrome-yellow and raw sienna for the dark shades, the centre is also finished 
with the pen to imitate the French knot stitch. In painting the leaves, to get the 
light shades, use emerald-green and chrome-yellow, for the dark shades use raw 
siuuna. The leaves are painted to represent the stitch. The stems are finished 
with the same colors and in the same manner as the leaves. 

INSTRUCTIONS FOR PAINTING WILD ROSE. 

The corola is finished first. Its colors are first brushed in with white and 
geranium hike, mixed so as make a very bright shade. After you get this shade 
brushed in, go over it with the pen, making the stitch, using the same color used for 
bru'iliing in. The centre is made with the pen in stitch form, using for the 
bright shade, emerald-green and chrome-yellow, and for the darker shade, emerald- 
green and raw umber. The stamens are made with the pen in stitch form, using 
chrome-yellow; for darker shades of leaves use raw umber; for the light shades 
emerald-green mixed with a little ehromeyellow or white; for the dark bud use 
emerald-green, and chrome-yellow for the lighter shades of the bud; for dark shade 
on bud, use umber. If you are painting on dark material use the paints given for 
the light shade on the entire bud. The buds are made with the pen, representing 
the i-titch. Between the stitches scratch in with a sharp tooth-pick or with the back 
of the pen a little paint of the same shade as the bud. The stems are made with 
the pen in stem stitoh foi-ni, u-iing raw sienna ani emsralJ-green. 



44 GUIDE TO KENSINGTON PAINTING. 

INSTRUCTIONS FOR PAINTING WEQELIA. 

The corola is finished first. By using geranium lake and white mixed, you can 
produce the proper shade. The centre is finished witli the pen representing the 
stitcli. Tlie buds are finished in the same way by using the same colors. In finish- 
ing the leaves, first brush in a little Naples-yellow and white mixed; in making the 
outline of leaves use the pen, making the outlines in the form of a stitch. You can get 
the proper shade by using emerald-green mixed with Naples-yellow and a little white ; 
for the light brown shades use raw sienna and Naples-yellow; the dark brown shades 
are made by mixing raw sienna and emerald-green. The veins are made with the 
pen in stitch form; the stems are brushed in first with Naples-yellow, then go over 
them with the pen making the stitch and using raw sienna. 

INSTRUCTIONS FOR PAINTING MOSS ROSE. 

Geranium lake and white mixed, is used for painting the bud or blossom; for paint- 
ing the darker shades in the flower, use madder lake; the moss is painted with 
emerald-green, mixing in a little white or yellow to get the lighter shades; to get 
brown shades, use raw sienna and raw umber. In painting the leaves, brush in with 
emerald-green mixed with white or yellow to get the different shades. This must 
be done before the outlines are painted, as all outlines are put on with the pen, 
representing the stitch. If you should put the outlines on first, when you are filling 
in with the brush you would be liable to touch the stitches, and your work would 
not be as neat when finished. In painting the outlines, to get the bright shade, use 
emerald-green with a little chrome-yellow or white; you can get the dark shade by 
using raw sienna; if the dark shade is to dark, work in a little Naples-yellow. The 
same colors are used for the stems as for the moss. The stem, moss rose and bud 
are all pen work, also veins and outlines of leaf; the filling in of the leaf is done 
with the brush. 

INSTRUCTIONS FOR PAINTING POPPY. 

The corola is finished first by brushing in vermilion red. After this is dried, 
brush in a little madder lake near the lower part of the flower, outside and in- 
side. The outline is put on with the pen in the form of a stitch; the outline and the 
centre of the flower are all that are put on with the pen; between the outline is brush 
work. To get the light shades for the outlines, use vermilion red, and for the 
dark, mix a little madder lake. The stems are put on with the pen by using white, 
put on lightly with the edge of the pen. For the centre of the flower below the stems, 
use emerald-green; the leaves are brushed in with emerald-green mixed with white 
or Najiles-yellow. 



LIBRAHY Ul- OUiMuncoo 



